THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


Digitized  by  the  Internet  Archive 
in  2016 


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MASTERS  IN  ART 


K^^J^^g^Honojsrapl)8 


Among  the  artists  to  be  considered  during  the  current,  1906, 
Volume  igay  be  mentioned,  Constable,  Bouguereau,  Goya, 
and  Ingres.  The  numbers  of  ‘ Masters  in  Art’ which  have  already 
appeared  in  1906  are  : 

part  7?,  January stuart 

Part  74,  FEBRUARY DAVID 

Part  75,  MARCH BOCKLIN 

PART  76,  THE  ISSUE  FOR 

&prti 


WILL  TREAT  OF 


oboma 


NUMBERS  ISSUED  IN  PREVIOUS  VOLUMES 
OF  ‘MASTERS  IN  ART’ 

VOL.  1.  VOL.  2. 

Part  13,  RUBENS 
Part  14,  DA  VINCI 
Part  15,  DURER 
Part  16,  MICHELANGELO* 
Part  17,  MI  CHELANGELOf 
Part  18,  COROT 
Part  19,  BURNE-JONES 
Part  20,  TER  BORCH 
Part  21,  DELLA  ROBBIA 
Part  22,  DEL  SARTO 
Part  23,  GAINSBOROUGH 
Part  24,  CORREGGIO 
t Painting 

VOL.  4. 


Part 

Part 

Part 

Part 

Part 

Part 

Part- 

Part 

Part 

Part- 

Part 

Part 


Part- 

Part 

Part 

Part- 

Part 

Part 

Part- 

Part 

Part 

Part 

Part 

Part 


1,  VAN  DYCK 

2,  TITIAN 

3,  VELASQUEZ 

4,  HOLBEIN 

5,  BOTTICELLI 

6, R  EMBRANDT 

7,  REYNOLDS 

8,  MILLET 

9,  GIO.  BELLINI 

10,  MURILLO 

11,  HALS 

12,  RAPHAEL 

*Sculf>turi 

VOL.  3. 

25,  PHIDIAS 

26,  PERUGINO 

27,  HOLBEIN  § 

28,  TINTORETTO 

29,  P.  deHOOCH 

30,  NATTIER 

31,  PAUL  POTTER 

32,  GIOTTO 

33,  PRAXITELES 

34,  HOGARTH 
3;,  TURNER 
36,  LUINI 


Part  37,  ROMNEY 
Part  38,  FRA  ANGELICO 
Part  39,  WATTEAU 
Part  40,  RAPHAEL* 

Part  41,  DONATELLO 
Part  42,  GERARD  DOU 
Part  43,  CARPACCIO 
Part  44,  ROSA  BONHEUR 
Part  45,  GUIDO  RENI 
Part  46,  P.  dhCHAVANNES 
Part  47,  GIORGIONE 
Part  48,  ROSSETTI 


Part 

Part 

Part 

Part 

Part 

Part 

Part 

Part 

Part 

Part 

Part 

P ART 


§ Drawings  * Frescos 

VOL.  5.  VOL.  6. 

ARTOLOMMEO  Part  61,  WATTS 


Part  62,  PALMA  VECCHIO 
Part  63,  VIGEE  LE  BRUN 
Part  64,  MANTEGNA 
PART65,  CHARDIN 
Part 66,  BENOZZO 


49 

50,  GREUZE 

51,  DURER* 

52,  LOTTO 

53,  LANDSEER 

54,  VERMEER 

55,  PINTORICCHIO  PART67,  JAN  STEEN 

56,  THE  VAN  EYCKS  Part  68,  MEMLINC 

57,  MEISSONIER  PART69,  CLAUDE 

58,  BARYE  Part  70,  VERROCCHIO 

59,  VERONESE  Part  71,  RAEBURN 

60,  COPLEY  Part  72,  FILIPPO  LIPPI 

* Engravings 


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LETTERS 

LETTERING 

AN  Illustrated  Treatise  by  Frank  Chou- 
Jll  teau  Brown,  containing  two  hundred 
and  ten  Examples . A complete  and  varied 
collection  of  Alphabets  of  Standard  and  Mod- 
ern Formsy  so  arranged  as  to  be  most  practi- 
cally and  conveniently  useful  to  Designersy 
ArchitectSy  Craftsmen , and  all  who  have  to 
draw  letterforms. 

WHAT  THOSE  WHO  USE  IT  HAVE 
TO  SAY 

I consider  the  work  very  good,  and  far  ahead  of  any- 
thing of  its  kind  th  it  I have  seen  before. 

James  F.  Rudy,  W.  Philadelphia,  Pa. 

It  is  very  well  adapted  to  my  line  of  work,  and  is 
used  for  general  office  lettering.  It  has  many  commend- 
able features. 

Walter  H.  Whitlock,  Architect,  Binghamton,  N.Y. 

It  is  comprehensive  and  at  the  same  time  concise,  and 
well  adapted  as  a reference  book.  I find  it  the  most 
complete  book  on  the  subject  that  I have  examined. 

Mary  Ketcham, 

Inst.  College  of  Fine  Arts,  Syracuse  Univ. 

The  very  best  I have  seen.  I have  handled  many, 
both  Foreign  and  Domestic,  but  never  found  one  that 
gives  so  much  good  information  and  usefulness  for  the 
price  of  $2.00.  Bernhard  Benson, 

Art  Industrial  Works,  Jamestown,  N.  Y. 

I have  used  the  work  as  a reference  book  when  de- 
signing the  lettering  for  bronze  tablets  of  every  descrip- 
tion, and  find  the  method  of  constructing  the  Roman 
letters  very  satisfactory.  A.  M.  Long,  Chicago,  111. 

I find  it  a great  help  to  me  in  my  work.  The  most 
valuable  part  in  the  book  is  the  Roman  capital  letters, 
also  the  construction  of  Roman  small  letters  and  the 
spacing  of  Roman  capitals. 

Joseph  Olsey,  Marble  and  Granite  Worker. 

It  is  the  best  book  I have  seen  on  the  subject.  I 
wished  it  especially  for  the  Gothic  and  Black  Letter 
Alphabets,  and  consider  them  the  best  things  in  it,  es- 
pecially Mr.  Goodhue’s  Alphabet. 

Miss  Ruth  S.  Brooke,  Gambier,  O. 

The  most  complete  of  any  treatise  on  letters  and 
lettering  I have  ever  seen.  The  artist  who  wishes  to 
make  letter  designing  a study,  to  become  proficient, 
cannot  well  afford  to  be  without  it. 

C.  J.  Boyd,  McCune,  Kan. 

In  my  work  of  designing  I find  myself  constantly 
referring  to  it  for  standard  forms.  I believe  that  any 
one  who  is  called  upon  to  letter  will  find  it  to  be  of 
lasting  value  in  saving  time  and  getting  results. 

Walter  L.  Burt,  El  Paso,  Tex. 

PRICE,  $2.00,  POST-PAID. 

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MASTERS  IN  ART 


“IT  HAS  TAUGHT  ME  ALL  THAT  A TEACHER  COULD  HAVE  TAUGHT— HOW 
TO  BEGIN  RIGHT,  HOW  TO  AVOID  DIFFICULTIES,  AND  THE 
‘TRICKS  OF  THE  TRADE.’” 

|)rn  ©rattling 

CHARLES  D.  MAGINNIS 

nly  practice  will  make  an  accomplished  pen- 
draughtsman;  but  this  little  treatise  teaches 
whatever  can  be  taught  of  the  art;  namely, 
how  to  practise,  what  “style”  is,  and  how  to 
attain  it,  what  pens,  inks,  and  papers  have  been  found 
most  serviceable,  how  to  use  line  and  hatch,  how  to 
produce  textures  and  to  represent  various  surfaces,  val- 
ues and  colors,  how  to  depict  and  treat  details,  — in  a 
word,  imparts  a knowledge  of  all  the  ways,  means,  and 
processes  that  experience  has  proved  useful.  The  key- 
note of  the  book  is  practicality.  Each  of  the  72  illus- 
trations is  a specific  example  of  some  important 
method.  It  is  written  interestingly  and  clearly.  With 
this  treatise  at  his  elbow  the  draughtsman  can  make 
most  valuable  use  of  his  spare  minutes. 

Price,  $1.00,  Postpaid 

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THIRD  EDITION. 


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MASTERS  IN  ART 


IMtfcltn 


GERMAN  SCHOOL 


THS  J.  PAUL  GETTY  MUSEUM  LIBRARY 


MASTERS  IN  ART  PLATE  I 

PHOTOGRAVURE  BY  THE  PHOTOGRAPHIC  UNION,  MUNICH 

[87  J 


BOCKLIN 
THE  HERMIT 

NATIONAL  GALLERY,  BERLIN 


BUCKLIN' 

MASTERS  IN  ART  PLATE  II  THE  ISLAND  OF  DEATH 

ogravure  8 y THE  photographic  union,  Munich  OWNED  BT  FRAU  SCHON-RENZ,  WORMS 


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MASTEHS  IN  ART  PLATE  TTT 


MA STEPS  IN  AET  PLATE  IV 

PHOTOGRAVURE  BY  THE  PHOTOGRAPHIC  UNION,  MUNICH 

[93] 


BOCKL1N 

THK  HOCKT  GOUGE 
SGHACK  GALLEET,  MUNICH 


BOCKLIN 

MASTEHS  IN  ART  PLATE  V THE  VILLA  BY  THE  SEA 

fOGRAVURE  BY  THE  PHOTOGRAPHIC  UNION,  MUNICH  SCHACK  GALLERY,  MUNICH 


\ 


MASTERS  IN  ART  PLATE  VII 

PHOTOGRAVURE  BY  THE  PHOTOGRAPHIC  UNION,  MUNICI 

[99] 


ROCKLIN 

VITA  SOMNIUM  BREVE 
MUSEUM,  BASLE 


MASTEHS  IN  AKT  PLATE  VIII 
photogravure  by  the  photograp-ic  UNION.  MUNICH 

[101] 


BOCKLIN 

PAN  FBTGHTENING  A GOATHEBD 
SCHAGK  GALLEHT,  MUNICH 


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PHOTOGRAPHIC  UNION,  MUNICH 

[105] 


POKTBAIT  OF  BuCKLIN  BY  HTMSELF  NATIONAL  GALLERY,  BEHXiTIN 
Although  romantic  in  conception  and  idealized,  this  famous  portrait  of  Bocklin  is 
one  of  the  most  masterly  and  the  most  striking  of  those  which  he  painted  of  him- 
self. He  wears  a black  velvet  jacket  and  holds  his  brush  and  palette  laid  with  fresh 
paint.  Pausing  in  his  work  he  turns  to  listen,  intently,  wonderingly,  to  sounds  com- 
ing from  some  unseen  source.  For,  invisible  to  his  eyes,  though  close  behind  him, 
is  the  spectral  form  of  Death,  playing  on  a fiddle  — a motive  suggested  by  the  works 
of  Holbein  and  other  early  German  artists.  The  portrait  was  painted  in  Munich  in 
1872,  when  Bocklin  was  forty-five  years  old. 

[ioe] 


MASTERS  IN  ART 


&rnoIii  UorftUn 

BORN  1 827  : DIED  1901 

GERMAN  SCHOOL 

ARNOLD  BOCKLIN1  was  born  on  October  16,  1827,  *n  Basle,  Switzer- 
l land.  His  father  was  at  that  time  a cloth  merchant  of  small  means,  who, 
not  being  successful  in  that  line  of  business,  and  after  an  equally  unsuccessful 
venture  as  joint  proprietor  of  a ribbon  factory,  obtained  a position  as  overseer 
of  a similar  establishment,  earning  thereby  barely  enough  to  support  his  large 
family.  He  managed,  however,  to  have  his  children  well  educated,  and  in 
addition  to  the  regular  course  of  study  in  the  college  of  the  town  his  sons  at- 
tended the  Drawing  Academy  of  Basle,  where  they  received  an  excellent 
training  in  the  art  in  which  Arnold  early  gave  signs  of  exceptional  talent. 

At  that  day  but  little  interest  in  matters  pertaining  to  art  was  taken  by  the 
worthy  and  practical  burghers  of  Basle.  The  town  possessed  no  public  art 
gallery,  but  in  a dingy  room  of  the  university  library  was  preserved  the  price- 
less collection  of  Holbein’s  works,  now  housed  in  the  Basle  Museum.  In  this 
room  Arnold  Bocklin,  when  a boy,  spent  many  hours,  and  there  can  be  no 
doubt  that  a study  of  Holbein’s  inimitable  creations  did  much  towards  awak- 
ening in  him  an  earnest  desire  to  devote  his  life  to  art. 

In  his  rambles  about  the  picturesque  country  surrounding  his  native  town 
his  imagination  was  still  further  quickened,  and  his  love  of  the  beautiful  fos- 
tered. In  these  walks  his  fertile  fancy  peopled  the  woods  and  streams  with  the 
fabulous  creatures  made  familiar  to  him  by  the  classic  legends  which,  in  his 
school  days,  had  charmed  his  imagination.  His  earliest  artistic  efforts  were 
landscapes — landscapes  in  which  sometimes  a weird  effect  was  produced  by 
moonlight  and  contrasting  shadows,  sometimes  stormy  skies  and  ruined, 
desolate  castles  were  portrayed,  but  always  they  were  of  a nature  to  appeal 
to  the  emotions.  Art  and  music  and  poetry  filled  the  boy’s  soul,  but  above  all 
did  painting,  that  special  form  of  art  which  responded  to  his  intuitive  love  of 
color,  grow  to  be  his  absorbing  passion 

To  his  wish  to  become  a painter,  however,  his  father  was  seriously  opposed. 
In  the  elder  Bocklin’s  estimation,  there  were  already  too  many  struggling 

1 It  is  impossible  to  give  in  English  a phonetic  spelling  of  the  name  Bocklin.  The  pronunciation  of  the 
0 in  German  is  similar  to  the  sound  of  eu  in  the  French  words  feu,  jeu , bleu,  etc.  If,  therefore,  this  pro- 
nunciation be  observed,  a fairly  correct  phonetic  spelling  of  the  artist’s  name  may  be  said  to  be  Beu^lin. 

[107] 


24 


MASTERS  IN  ART 


artists  who  would  never  attain  success,  and  he  was  in  no  way  minded  that  his 
son  should  increase  their  number.  But  the  boy's  mother,  believing  more 
firmly  in  his  genius,  did  all  in  her  power  to  enable  him  to  carry  out  his  desire, 
and  finally,  with  the  assistance  of  a friend  who  recognized  the  lad’s  talent, 
a reluctant  consent  was  wrung  from  the  father,  and  Arnold,  then  eighteen 
years  old,  was  sent  to  Diisseldorf  to  begin  his  studies  in  the  Academy  there. 

Under  the  landscape-painter  Johann  Wilhelm  Schirmer  he  proved  himself 
a diligent  pupil;  but  Schirmer,  who  soon  saw  how  unusual  were  the  young 
man’s  talents,  and  realized  that  the  vitiated  romanticism  of  Diisseldorf  had 
little  to  offer  such  a fresh  and  original  genius,  advised  him  to  go  to  Brussels, 
where  he  would  find  a greater  stimulus  to  his  art.  Accordingly,  after  about 
two  years  in  Diisseldorf,  Bocklin  went  to  Belgium,  and  in  Brussels  and  Ant- 
werp learned  much  from  his  study  of  the  coloring  of  the  early  Flem  sh  painters, 
and  of  the  glowing  canvases  of  the  later  master  of  that  school — Rubens. 

From  Belgium  he  journeyed  to  Geneva  in  order  to  pursue  his  studies  with 
Alexandre  Calame,  but  after  only  a few  weeks  in  the  Swiss  landscape-painter’s 
studio  he  again  turned  his  steps  northward,  this  time  to  Paris.  There  the 
works  of  Delacroix,  of  Couture,  and,  above  all,  of  Corot,  impressed  him;  but 
far  deeper  than  that  produced  by  any  painted  picture  was  the  impression  left 
upon  his  mind  by  the  bloody  scenes  which  filled  the  city’s  streets  when  the 
February  Revolution  of  1848  broke  forth.  Bocklin  never  forgot  the  sights  he 
witnessed  then,  and  even  in  after  years  it  was  with  the  recollection  of  them 
still  fresh  in  his  memory  that  he  painted  some  of  his  scenes  of  combat. 

The  young  painter’s  stay  in  Paris  was  of  short  duration.  He  had  not  yet 
found  what  his  soul  craved,  and  after  a few  months  spent  in  his  native  town 
for  the  purpose  of  fulfilling  his  military  duties  by  serving  for  a prescribed 
length  of  time  in  the  regular  army,  he  wandered  farther  south,  to  the  Mecca 
of  all  young  artists  of  that  day — Italy. 

In  Rome  Bocklin  found  many  congenial  spirits  in  the  little  colony  of  Ger- 
man and  Swiss  painters  and  poets;  Dreber,  Feuerbach,  Begas,  Von  SchefFel, 
Paul  Heyse,  and  others,  became  his  warm  friends,  and  in  the  strangely  poetic 
beauty  of  the  Roman  Campagna  he  found  at  last  a fulfilment  of  his  artistic 
yearnings.  Here  in  Italy  was  the  scenery  his  brush  could  paint  with  loving 
sympathy;  here  were  the  rich  colors  he  loved;  here  could  he  find  the  fit  setting 
for  those  nymphs  and  fauns  and  satyrs,  those  fabulous  monsters,  those  gods 
and  goddesses,  with  which  his  fancy  teemed.  Long  hours  spent  in  wandering 
about  the  Campagna,  absorbed  in  dreams  while  his  companions  sedulously 
sketched  this  or  that  bit  of  rock  or  tree  or  picturesque  group  of  peasants,  re- 
sulted in  some  ideal  landscape  painted  later  in  his  studio  from  memory,  in 
which  with  marvelous  effect  the  spirit  of  the  scene  was  rendered. 

What  were  days  of  poverty  to  one  so  rich  in  fancy  and  so  happy  in  his  crea- 
tive power  as  this  young  and  unknown  Swiss  painter!  And  to  add  to  his  happi- 
ness, but  by  no  means  to  alleviate  his  poverty,  he  must  needs  fall  romantically 
in  love,  after  only  a few  days’  acquaintance,  with  a young  Roman  orphan  girl, 
Angelina  Pascucci  by  name,  whose  radiant  classic  beauty  was  her  only  mar- 
riage portion,  but  who  became  to  Bocklin  a lifelong  inspiration.  The  mar- 

1108] 


BOCKLIN 


25 


riage  took  place  in  the  summer  of  1853,  and  in  spite  of  the  difference  in  nation- 
ality, in  religion,  language,  and  customs,  to  say  nothing  of  the  wearing  trials 
of  extreme  poverty,  it  was  and  always  continued  to  be  an  absolutely  happy  one. 
Frau  Bocklin’s  more  practical  nature  saved  her  husband  from  many  a diffi- 
culty, and  her  loving,  watchful  care  of  him  in  times  of  sorrow  or  of  discourage- 
ment was  untiring. 

Bocklin’s  early  married  life  was  full  of  hardship,  for  with  a young  wife  and 
an  increasing  family  of  children  he  found  it  no  easy  task  to  make  both  ends 
meet.  Now  and  then  his  friends  were  able  to  help  him  to  sell  a picture,  but 
purchasers  were  few,  and  he  was  often  reduced  to  sore  straits  to  earn  the  money 
necessary  for  the  support  of  his  family.  When  his  picture  of  ‘Pan  pursuing  a 
Nymph’  was  bought  by  a Viennese  lady,  and  a second  version  of  the  subject 
was  ordered  by  Herr  Wedekind,  the  German  consul  at  Palermo,  the  future 
began  to  look  brighter;  but  the  money  which  the  sale  of  these  two  canvases 
brought  in,  went  but  a little  way  towards  the  relief  of  his  circumstances, 
and  finally,  discouraged  and  sick  at  heart,  he  resolved  to  leave  Rome  and  re- 
turn with  his  young  wife  and  two  little  children  to  his  father’s  house  in  Basle. 

No  better  fortune,  however,  awaited  him  there.  A landscape  which  he 
sent  to  an  exhibition  in  his  native  town  was  greeted  with  derision  by  the 
matter-of-fact  citizens  of  Basle,  who  were  wholly  unaccustomed  to  such 
ideal  scenes  and  startling  colors. 

It  was  just  at  that  time  that  Bocklin  received  from  Herr  Wedekind,  his 
former  patron,  a commission  to  decorate  in  fresco  the  walls  of  the  consul’s 
dining-room  in  Hanover,  and  being  discouraged  by  the  reception  his  land- 
scape had  been  accorded  by  his  fellow-citizens,  he  gladly  agreed  to  undertake 
the  task.  In  the  early  spring  of  1858  he  removed  with  his  family  to  Hanover, 
and  at  once  set  to  work  upon  a scheme  of  decoration  illustrating  in  five  great 
frescos,  rich  in  imaginative  quality  and  able  in  composition  and  execution, 
the  relation  of  man  to  fire. 

With  the  exception  of  a small  sketch  for  the  first  picture,  no  preparatory 
drawings  were  made,  but,  having  clearly  in  his  mind  what  he  wished  to  repre- 
sent, the  artist  painted  his  subjects,  without  model  of  any  kind,  directly  upon 
the  walls.  In  four  months  the  work  was  completed,  but  unfortunately  it  did 
not  find  favor  in  the  eyes  of  Herr  Wedekind;  a temporary  misunderstanding 
occurred  between  him  and  the  artist,  and  Bocklin,  who  had  in  the  first  place 
agreed  to  undertake  the  work  for  comparatively  slight  remuneration,  found  it 
difficult  to  obtain  the  stipulated  reward  for  his  labors.  . . . 

In  March,  1859,  there  appeared,  in  the  exhibition  of  the  Society  of  Artists  in 
Munich,  a large  picture,  entitled  ‘ Pan  among  the  Reeds,’  which  aroused  great 
interest,  attracting  the  notice  of  all  by  the  singular  originality  of  its  subject  and 
treatment.  It  was  said  that  the  artist,  whose  name  was  unknown  in  Munich, 
was  one  Arnold  Bocklin,  a Swiss  painter,  who  with  a beautiful  young  Italian 
wife  and  a family  of  children  had  recently  come  to  the  city,  and  at  that  very 
moment,  poor  and  in  the  utmost  need,  he  and  two  of  his  children  were  lying 
ill  with  typhoid  fever. 

Relief  came  to  Bocklin  through  his  great  picture  of  Pan.  This  work,  a 

[109] 


26 


MASTERS  IN  ART 


large  version  of  a subject  he  had  previously  painted  in  Rome,  was  bought  for 
the  New  Pinakothek — the  gallery  of  modern  paintings — in  Munich,  and 
from  that  moment  the  tide  turned.  Bocklin’s  strong  constitution  enabled  him 
to  recover  from  the  treacherous  fever,  but  one  of  his  children  died  from  its 
effects,  and  the  blow  was  a crushing  one  to  the  painter,  who  found  it  hard, 
now  that  success  seemed  about  to  crown  his  efforts,  to  respond  to  the  cordial 
welcome  extended  him  by  the  artist  community  in  Munich.  Through  his 
friend  of  old  Roman  days,  the  poet  and  writer  Paul  Heyse,  he  was  brought  to 
the  notice  of  Baron,  afterwards  Count,  von  Schack,  in  whom  he  found  so 
munificent  a patron  that  to-day  the  Schack  Gallery  in  Munich  contains  one  of 
the  most  valuable  collections  of  the  artist’s  works. 

In  the  autumn  of  i860  Bocklin  was  offered  a professorship,  as  also  were 
Begas  and  Lenbach,  in  the  newly  established  Academy  of  Arts  in  Weimar,  ffe 
accepted  the  position,  but  the  atmosphere  of  the  little  scholastic  town,  im- 
pregnated as  it  was  with  literary  memories,  had  nothing  to  offer  to  the  artistic 
aspirations  of  the  young  professors,  who  found  their  more  modern  ideas  op- 
posed by  those  of  the  conservative  school.  One  by  one  they  shook  the  dust  of 
Weimar  from  their  feet  and  sought  other  and  more  stimulating  fields. 

For  Bocklin’s  art  this  was  an  unproductive  period.  ‘Diana  Hunting’  and 
‘Pan  frightening  a Goatherd’  were  the  principal  pictures  painted  during  his 
two  years’  stay  in  Weimar,  where  much  time  was  devoted  to  an  indulgence  of 
his  taste  for  science  and  mathematics  in  the  construction  of  a flying-machine. 
His  interest  in  aeronautics  amounted  to  a passion  at  times  almost  as  absorbing 
to  him  as  his  art,  and  although  his  efforts  to  solve  the  problem  of  a flying- 
machine  were  never  crowned  with  success,  to  the  end  of  his  life  he  did  not 
abandon  hope  of  accomplishing  his  aim. 

Upon  leaving  Weimar,  Italy  was  again  Bocklin’s  objective  point.  This 
time  he  visited  Naples,  Capri,  and  Pompeii,  fascinated  by  the  colors  of  the 
Mediterranean,  and  falling  anew  under  the  spell  of  those  classic  stories  with 
which  its  shores  are  replete.  Pompeii  possessed  for  him  a deep  interest,  and 
Naples  aroused  a feeling  scarcely  less  intense. 

The  year  1862  found  Bocklin  once  more  in  Rome.  During  the  four  follow- 
ing years  he  worked  industriously,  and  among  his  patrons  had  the  gratifica- 
tion to  count  several  from  his  native  town.  In  the  hope  of  receiving  there  still 
further  commissions,  he  returned  with  his  family  to  Basle  in  the  early 
autumn  of  1866.  His  hopes  Were  not  disappointed.  Soon  after  his  arrival  he 
was  asked  to  paint  in  fresco  the  walls  of  the  garden  house  of  his  friend  Herr 
Sarasin,  and,  a far  more  important  work,  was  commissioned  by  the  munici- 
pality of  Basle  to  decorate  the  walls  of  the  stairway  of  the  newly  erected  Art 
Museum  of  the  city.  In  addition  to  these  two  monumental  tasks  Bocklin 
painted  many  masterpieces  during  his  stay  in  Basle,  among  which  may  be 
mentioned  ‘ The  Road  to  Emmaus,’  ‘ The  Rocky  Gorge,’ ‘ The  Ride  of  Death,’ 
‘Furies  pursuing  a Murderer,’  all  now  in  the  Schack  Gallery  in  Munich,  and 
many  more  equally  original  in  conception,  as  well  as  a number  of  portraits. 
In  addition  to  these  works  he  gave  proof  of  his  skill  in  plastic  art,  in  which  he 
was  almost  as  gifted  as  in  painting,  by  modeling  for  the  garden  facade  of  the 

[110] 


BOCKLIN 


27 


Kunsthalle  six  masks  caricaturing  with  the  most  grotesque  humor  the  aider- 
men  of  Basle,  whose  stubborn  narrow-mindedness  had  so  often  opposed  itself 
to  his  artistic  ideas. 

To  Munich  the  painter  next  turned  his  steps,  and  between  July,  1871,  and 
the  autumn  of  1874,  made  that  city  his  home.  These  three  years  were  pro- 
ductive of  many  paintings  marked  by  marvelous  creative  power:  ‘The  Battle 
of  the  Centaurs,’  recalling  Rubens  in  its  energy  and  force,  ‘Triton  ^nd  Nereid,’ 
a ‘Pieta,’  ‘Pan  Fishing,’  the  portrait  of  himself  with  Death,  and  numerous 
other  works  teeming  with  an  apparently  inexhaustible  imagination. 

Munich,  however,  was  not  satisfying  to  Bocklin’s  nature,  and  accordingly 
to  Italy  he  once  more  returned,  this  time  fixing  his  abode  in  Florence,  where 
eleven  happy  years  passed  before  his  restless  spirit  again  urged  him  on. 

This  Florentine  period  realized  the  highest  attainment  of  his  art.  The  in- 
fluence of  the  Renaissance  masters  of  Italy  is  felt  in  the  deep  poetic  meaning 
of  the  pictures  painted  at  this  time.  The  colors,  sometimes  rich  and  glowing, 
sometimes  light  and  almost  startling  in  their  bright,  vivid  hues,  again  deep  and 
somber,  reflect  his  varying  moods.  The  composition  is  more  balanced,  the 
technique  more  finished,  and,  as  always,  the  creative  power  marvelous  in  its 
unending  variety.  ‘The  Sleeping  Diana,’  ‘Springtime,’  ‘The  Regions  of  the 
Blessed,’  ‘The  Island  of  Death,’  ‘Prometheus,’  ‘Sport  of  the  Waves,’ 
‘The  Sacred  Grove,’  ‘Autumn  Thoughts,’  ‘The  Silence  of  the  Forest,’  are 
among  his  most  famous  works  of  these  years. 

The  hardest  struggles  of  Bocklin’s  life  now  seemed  ended.  His  days  of 
storm  and  stress  were  over.  Recognition  of  his  genius,  in  quarters  where  rec- 
ognition was  of  value,  had  come  at  last,  and  although  his  works  were  still  in- 
comprehensible to  the  general  public,  which  continued  to  shake  its  head  over 
the  extraordinary  subjects  and  the  strong  colors  of  the  canvases  which  from 
time  to  time  he  sent  to  the  various  exhibitions  in  Germany,  they  were  no  longer 
greeted  with  derision,  but  were  sufficiently  in  demand  to  bring  prices  which 
enabled  the  artist  to  live  in  comparative  comfort.  In  his  home  in  Florence  he 
was  surrounded  by  a host  of  friends,  among  whom  were  many  of  the  best- 
known  German  writers,  painters,  poets,  and  sculptors  of  the  day. 

It  was  in  1885,  when  Bocklin  was  approaching  his  sixtieth  year,  that  he  re- 
crossed the  Alps  to  his  own  country,  and,  for  the  sake  of  his  children’s  educa- 
tion, settled  in  Zurich.  During  his  sojourn  there  he  was  the  recipient  of  many 
public  honors.  At  the  International  Exhibition  of  1888  he  was  given  a first- 
class  medal;  in  the  following  year  he  was  named  honorary  doctor  of  philosophy 
in  the  University  of  Zurich,  and  in  1890  the  right  of  citizenship  was  bestowed 
upon  him  by  the  town. 

His  artistic  influence  became  more  and  more  wide-spread,  and  at  the  time 
of  the  Munich  Exhibition  of  1890  he  was  recognized  as  one  of  the  foremost  of 
modern  German  painters,  not  only  in  artistic  circles,  but  was  accepted  as  such 
by  the  public  at  large.  It  was  at  this  triumphant  period  of  his  career,  and 
when  he  was  in  the  full  strength  of  his  powers,  that  the  startling  news  was 
spread  abroad  that  the  master  had  been  stricken  by  apoplexy.  This  was  in 
May,  1892. 


[Ill] 


28 


MASTERS  I N ART 


His  recovery  from  the  attack  was  very  slow.  When  he  was  strong  enough  to 
bear  the  journey  he  was  taken  to  the  land  he  loved  best,  and  there,  in  a villa 
in  Fiesole,  near  Florence,  gradually  regained  his  health,  and  once  more  re- 
sumed his  work.  The  pictures  painted  at  this  time  show  no  diminution  of 
power;  the  4 Polyphemus,’  the  ‘Venus  Genetrix,’  and  a portrait  of  himself  at 
his  easel  are  as  original  in  conception,  as  fresh  in  color,  and  technically  as 
fine  as  his  earlier  or  his  later  achievements. 

In  1895  Bocklin  became  the  owner  of  a villa  in  San  Domenico  between 
Florence  and  Fiesole,  and  there  in  that  picturesque  spot  overlooking  the  beau- 
tiful valley  of  the  Arno,  surrounded  by  those  he  loved,  the  evening  of  his  life 
was  spent.  To  the  last  he  devoted  himself  to  his  art,  and  to  that  other  art, 
music,  which  he  also  dearly  loved,  and  in  which,  without  any  scientific  train- 
ing, he  was  unusually  skilled,  playing  delightfully  upon  various  instruments. 
In  his  quiet  home  reports  reached  him  from  the  outer  world  of  honors  showered 
upon  him,  and  of  the  great  festivals  held  all  over  Germany,  as  well  as  in  his 
native  Basle,  upon  the  occasion  of  his  seventieth  birthday;  but  with  these 
flattering  testimonies  to  his  genius,  as  with  the  neglect  he  had  previously  and 
for  so  many  years  endured  without  complaint,  he  seemed  in  no  way  concerned. 
Art  was  for  him  something  above,  beyond,  apart  from  all  that — the  expres- 
sion of  his  deepest  feeling,  his  highest  aspiration. 

Arnold  Bocklin  has  been  described  by  those  who  knew  him  as  a man  of  few 
words,  reserved  and  somewhat  diffident  with  strangers,  but  frank  and  in- 
genuous with  his  friends.  Warm-hearted  and  generous  in  disposition,  he  was 
the  very  soul  of  honor,  never  stooping  to  a meanness  of  any  kind.  Frugal,  in- 
dustrious, and  simple  in  his  tastes,  he  despised  all  outward  show,  cared  nothing 
for  the  conventionalities  of  life,  and  was  wholly  indifferent  to  the  extravagant 
praises  heaped  upon  his  name  when,  finally,  fame  and  glory  such  as  fall  to  the 
lot  of  few  men  during  lifetime,  were  awarded  him. 

In  person  he  was  tall  and  powerfully  built.  His  shoulders  were  broad  and 
his  carriage  erect.  His  physical  strength  was  unusual.  Even  at  fifty  he  found  it 1 
no  tax  to  paint  for  eight  consecutive  hours,  and  then  not  only  when  at  his  easel, 
but  also  when  engaged  upon  wall  frescos,  in  a position  necessarily  more 
strained.  His  head  was  finely  shaped,  his  eyes  were  blue  and  clear,  and 
his  expression  kindly.  When  a young  man  he  had  the  air  of  a typical  painter 
or  poet,  but  as  he  grew  older  this  look  completely  disappeared,  and  in  middle 
life  there  was  nothing  in  his  decidedly  military  appearance  to  suggest  either 
the  one  or  the  other.  In  his  dress  he  was  always  scrupulously  particular;  in 
short,  nothing  in  the  outer  man  gave  token  of  the  intensity  and  passion  of  his 
artistic  nature. 

In  his  beautifulvilla  in  San  Domenico,  Bocklin’s  closing  years  passed  peace- 
fully. He  worked  almost  to  the  last,  the  canvases  entitled  ‘ Melancholy/  ‘War/ 
and  ‘The  Plague’  being  painted  the  year  before  his  death.  His  wife  and  chil- 
dren and  grandchildren  were  with  him  as  life  drew  near  its  end,  and  his  son, 
Carlo,  an  architect  and  later  a painter,  was  his  father’s  right  hand  in  all  prac- 
tical affairs.  Repeated  apoplectic  strokes  gradually  shattered  his  strength  and 
rendered  him  more  and  more  helpless;  finally,  an  attack  of  pneumonia  ha- 

[112] 


BOCKLIN 


29 


stened  his  death,  which  occurred  on  January  16,  1901.  He  was  buried  two 
days  later,  with  simple  but  touching  services,  in  the  Campo  Santo  degli  Allori, 
just  outside  one  of  the  gates  of  Florence.  . 


Che  $rt  of  Bodiltn 

RICHARD  MUTHER  ‘THE  HISTORY  OF  MODERN  PAINTING’ 

ARNOLD  BOCKLIN  is  a landscape-painter  in  his  very  essence,  and  he  is 
l moreover  the  greatest  landscape-painter  of  the  nineteenth  century,  be- 
side whom  even  the  Fontainebleau  group  seem  one-sided  specialists.  Every 
one  of  the  latter  had  a peculiar  type  of  landscape,  and  a special  hour  in  the  day 
which  appealed  to  his  feelings  more  distinctly  than  any  other.  One  loved 
spring  and  dewy  morning,  another  the  clear  cold  day,  another  the  threatening 
majesty  of  the  storm,  the  flashing  effects  of  sportive  sunbeams,  or  the  evening, 
after  sunset,  when  colors  fade  from  view.  But  Bocklin  is  as  inexhaustible  as 
infinite  nature  itself.  In  one  place  he  celebrates  the  festival  of  spring  with  its 
burden  of  beauty.  In  another,  nature  shines,  and  blooms,  and  breathes  her 
balm  in  all  the  colors  of  summer.  And  besides  such  lovely  idyls,  he  has  painted 
with  puissant  sublimity  as  many  complaining  elegies  and  tempestuous  trag- 
edies. Here  the  somber  autumnal  landscapes,  with  their  tall  black  cypresses, 
are  lashed  by  the  rain  and  the  howling  storm.  There,  lonely  islands  or  grave, 
half-ruined  towers,  tangled  with  creepers,  rise  dreamily  from  a lake,  mourn- 
fully hearkening  to  the  repining  murmur  of  the  waves.  Bocklin  has  painted 
everything:  the  graceful  and  heroic,  the  solitude  and  the  waste,  the  solemnly 
sublime  and  the  darkly  tragic,  passionate  agitation  and  demoniacal  fancy,  the 
strife  of  foaming  waves  and  the  eternal  rest  of  rigid  masses  of  rock,  the  wild 
uproar  of  the  sky  and  the  still  peace  of  flowery  fields.  The  compass  of  his 
moods  is  as  much  greater  than  that  of  the  French  classicists  as  Italy  is  greater 
than  Fontainebleau. 

For  Italy  is  Bocklin’s  home  as  a landscape-painter,  and  the  moods  of  nature 
there  are  more  in  number  than  Poussin  ever  painted.  Grave  and  sad  and 
grandiose  is  the  Roman  Campagna,  with  the  ruins  of  the  street  of  sepu  chers. 
Hidden  like  the  Sleeping  Beauty  lie  the  Roman  villas  in  his  pictures,  in  their 
sad  combination  of  splendor  and  decay,  of  life  and  death,  of  youth  and  age. 
Behind  weather-beaten  grotto-wells  and  dark  green  nooks  of  yew,  white  busts 
and  statues  gleam  like  phantoms.  Huge  cypresses  of  the  growth  of  centuries 
stand  gravely  in  the  air,  tossing  their  heads  mournfully  when  the  wind  blows. 
Then  at  a bound  we  are  at  Tivoli,  and  the  whole  scenery  is  changed.  Great 
fantastic  rocks  rise  straight  into  the  air,  luxuriantly  mantled  by  ivy  and  para- 
sitic growths.  Trees  and  shrubs  take  root  in  the  clefts.  And  the  floods  of  the 
Anio  plunge  headforemost  into  the  depths  with  a roar  of  sound  like  a legion  of 
demons  thunder-stricken  by  some  higher  power.  Then  comes  Naples,  with  its 
glory  of  flowers  and  its  moods  of  evening  glowing  in  deep  ruby.  Farther  away 

[113] 


30 


MASTERS  IN  ART 


he  paints  the  Homeric  world  of  Sicily,  with  its  crags  caressed  or  storm-beaten 
by  the  wave,  its  blue  grottos,  and  its  deep,  glowing  splendors  of  changing 
color.  ... 

Bocklin  has  no  more  rendered  an  exact  portrait  of  the  scenery  of  Italy  than 
the  classic  masters  of  France  sought  to  represent  in  a photographic  way  dis- 
tricts in  the  forest  of  Fontainebleau.  His  whole  life,  like  theirs,  was  a renewed 
and  perpetual  wooing  of  nature.  As  a boy  he  looked  down  from  his  attic  in 
Basle  upon  the  heaving  waters  of  the  Rhine.  When  he  was  in  Rome  he  wan- 
dered daily  in  the  Campagna  to  feast  his  eyes  upon  its  grave  lines  and  colors. 
And  the  moods  with  which  he  was  inspired  by  nature  and  the  phenomena  he 
observed  were  stored  in  his  mind  as  though  in  a great  emporium.  Then  his 
imagination  went  through  another  stage.  That  “organic  union  of  figures  and 
landscape  ” which  the  representatives  of  “ heroic  landscape  ” had  surmised  and 
endeavored  to  attain  by  a reasoned  method  through  the  illustration  of  passages 
in  poetry,  took  place  in  Bocklin  by  the  force  of  intuitive  conception.  The  mood 
excited  in  him  by  a landscape  is  translated  into  an  intuition  of  life.  In  his  pic- 
tures nature  laughs  with  those  who  are  glad,  mourns  with  those  who  weep, 
sheds  her  light  upon  the  joyful,  and  envelops  tortured  spirits  in  storm  and  the 
terror  of  thunder.  . . . 

In  Bocklin’s  earlier  pictures  the  accessory  figures  are  placed  in  close  rela- 
tion with  the  landscape  in  a manner  entirely  similar.  But  his  great  creations 
reach  a higher  level.  Having  begun  by  extending  the  lyrical  mood  of  a land- 
scape to  his  figures,  he  finally  succeeded  in  populating  nature  with  beings 
which  seem  the  final  condensation  of  the  life  of  nature  itself,  the  tangible  em- 
bodiment of  that  spirit  of  nature  whose  cosmic  action  in  the  water,  the  earth, 
and  the  air  he  had  glorified  in  one  of  his  youthful  works,  the  frescos  of  the 
Basle  Museum.  In  such  pictures  he  has  no  forerunners  whatever  in  the  more 
recent  history  of  art.  His  principle  of  creation  rests,  it  might  be  said,  upon  the 
same  overwhelming  feeling  for  nature  which  brought  forth  the  figures  of  Greek 
myth.  When  the  ancient  Greek  stood  before  a waterfall  he  gave  human  form 
to  what  he  saw.  His  eye  beheld  the  outlines  of  beautiful  nude  women,  nymphs 
of  the  spot,  in  the  descending  volume  of  the  cascade;  its  foam  was  their  flutter- 
ing hair,  and  in  the  rippling  of  the  water  he  heard  their  splashing  and  their 
laughter. 

The  beings  which  live  in  Bocklin’s  pictures  owe  their  origin  to  a similar  ac- 
tion of  the  spirit.  He  hears  trees,  rivers,  mountains,  and  universal  nature 
whisper  as  with  human  speech.  Every  flower,  every  bush,  every  flame,  the 
rocks,  the  waves,  and  the  meadows,  dead  and  without  feeling  as  they  are  to 
the  ordinary  eye,  have  to  his  mind  a vivid  existence  of  their  own.  In  his  im- 
agination every  impression  of  nature  condenses  itself  into  figures  that  may  be 
seen.  As  a dragon  issues  from  his  lair  to  terrify  travelers  in  the  gloom  of  a 
mountain  ravine,  and  as  the  avenging  Furies  rise  in  the  waste  before  a mur- 
derer, so  in  the  still,  brooding  noon,  when  a shrill  tone  is  heard  suddenly  and 
without  a cause,  the  Grecian  Pan  lives  once  again  for  Bocklin — Pan  who 
startles  the  goatherd  from  his  dream  by  an  eerie  shout,  and  then  whinnies  in 
mockery  of  the  terrified  fugitive.  The  cool,  wayward,  splashing  element  of 

[114] 


BOCKLIN 


3 


water  takes  shape  as  a gracetul  nymph;  the  fine  mists  which  rise  from  the 
water-source  become  embodied  as  a row  of  merry  children  whose  vaporous 
figures  float  lazily  through  the  shining  clouds  of  spring.  And  the  secret  voices 
that  live  amid  the  silence  of  the  wood  press  round  him,  and  the  phantom  born 
of  the  excited  scenes  becomes  a ghostly  unicorn  advancing  with  noiseless  step, 
and  bearing  upon  his  back  a maiden  of  legendary  story.  The  form  of  Death 
stumbling  past  cloven  trees  in  rain  and  tempest,  as  he  rides  his  pale  horse,  ap- 
pears to  him  in  a waste  and  chill  autumnal  region,  where  stands  a ruined 
castle  in  lurid  illumination.  A sacred  grove,  lying  in  insular  seclusion  and 
fringed  with  venerable  old  trees  that  rise  straight  into  the  air,  rustling  as  they 
bend  their  heads  towards  each  other,  is  peopled,  as  at  a word  of  enchantment, 
with  grave  priestly  figures  robed  in  white,  which  approach  in  solemn  proces- 
sion and  fling  themselves  down  in  prayer  before  the  sacrificial  fire.  The  lonely 
waste  of  the  sea  is  not  brought  home  to  him  with  sufficient  force  by  a wide 
floor  of  waves,  with  gulls  indolently  flying  beneath  a low  and  leaden  sky;  so 
he  paints  a flat  crag  emerging  from  the  waves,  and  upon  its  crest,  over  which 
the  billows  sweep,  the  shy  dwellers  of  the  sea  bathe  in  the  light.  Naiads  and 
tritons  assembled  for  a gamesome  ride  over  the  sea  typify  the  fleeing  hide-and- 
seek  of  the  waves.  Yet  there  is  nothing  forced,  nothing  merely  ingenious, 
nothing  literary,  in  these  inventions.  The  figures  are  not  placed  in  nature 
with  deliberate  calculation;  they  are  an  embodied  mood  of  nature;  they  are 
children  of  the  landscape  and  no  mere  accessories. 

Bbcklin’s  power  of  creating  types  in  embodying  these  beings  of  his  imagina- 
tion is  a thing  unheard  of  in  the  whole  history  of  art.  He  has  represented  his 
centaurs  and  satyrs  and  fauns  and  sirensso  vividly  and  impressively  that  they 
have  become  ideas  as  currently  acceptable  as  if  they  were  simple  incomposite 
beings.  He  has  seen  the  awfulness  of  the  sea  at  moments  when  the  secret  be- 
ings of  the  deep  emerge,  and  he  allows  a glimpse  into  the  fabulous  reality  of 
their  as  yet  unexplored  existence.  For  all  beings  which  hover  swarming  in  the 
atmosphere  around,  have  their  dwellings  in  the  trees,  or  their  haunts  in  rocky 
deserts,  he  has  found  new  and  convincing  figures.  Everything  which  was 
created  in  this  field  before  his  time — the  works  of  Diirer,  Mantegna,  and 
Salvator  Rosa  not  excepted — was  an  adroit  sport  with  forms  already  estab- 
lished by  the  Greeks,  and  a transposition  of  Greek  statues  into  a pictorial 
medium.  With  Bocklin,who,  instead  of  illustrating  mythology,  himself  creates 
it,  a new  power  of  inventing  myths  was  introduced.  His  creations  are  not  the 
distant  issue  of  nature,  but  corporeal  beings,  full  of  ebullient  energy,  individ- 
ualized through  and  through,  and  stout,  lusty,  and  natural. 

And  only  a slight  alteration  in  the  truths  of  nature  has  sufficed  him  for  the 
creation  of  such  chimerical  beings.  As  a landscape-painter  he  stands  with  all 
his  fibers  rooted  in  the  earth,  although  he  seems  quite  alienated  from  this 
world  of  ours,  and  his  fabulous  creatures  make  the  same  convincing  impres- 
sion because  they  have  been  created  with  all  the  inner  logical  congruity  of 
nature,  and  delineated  under  close  relationship  to  actual  fact  with  the  same 
numerous  details  as  the  real  animals  of  the  earth.  For  his  tritons,  sirens,  and 
mermaids,  with  their  prominent  eyes  and  their  awkward  bodies  covered  with 

[115] 


32 


MASTERS  IN  ART 


bristly  hair,  he  may  have  made  studies  from  seals  and  walruses.  His  obese  and 
short-winded  tritons,  with  shining  red  faces  and  flaxen  hair  dripping  with 
moisture,  are  good-humored  old  men  with  a quantity  of  warm  blood  in  their 
veins,  who  love  and  laugh  and  drink  new  wine.  His  fauns  may  be  met  with 
amongst  the  shepherds  of  the  Campagna,  swarthy,  strapping  fellows  dressed 
in  goatskin  after  the  fashion  of  Pan.  It  is  chiefly  the  color  lavished  upon  them 
which  turns  them  into  children  of  an  unearthly  world,  where  other  suns  are 
shining,  and  other  stars. 

In  the  matter  of  color,  also,  the  endeavors  of  the  nineteenth  century  reach  a 
climax  in  Bocklin.  He  was  the  first  in  Germany  who  revealed  the  marvelous 
power  in  color  for  rendering  moods  of  feeling  and  its  inner  depth  of  musical 
sentiment.  Even  in  those  years  when  the  brown  tone  of  the  galleries  pre- 
vailed everywhere,  color  was  allowed  in  his  pictures  to  have  its  own  independ- 
ent existence,  apart  from  its  office  of  being  a merely  subordinate  characteristic 
of  form.  For  him  green  was  thoroughly  green,  blue  was  divinely  blue,  and  red 
was  jubilantly  red.  At  the  very  time  when  Richard  Wagner  lured  the  colors  of 
sound  from  music,  with  a glow  and  light  such  as  no  master  had  kindled  before, 
Bocklin’s  symphonies  of  color  streamed  forth  like  a crashing  orchestra.  The 
whole  scale,  from  the  most  somber  depth  to  the  most  chromatic  light,  was  at 
his  command.  In  his  pictures  of  spring  the  color  laughs,  rejoices,  and  exults. 
In  ‘The  Island  of  Death’  it  seems  as  though  a veil  of  crape  were  spread  over 
the  sea,  the  sky,  and  the  trees.  His  splendid  sea-green,  his  transparent  blue 
sky,  his  sunset  flush  tinged  with  violet  haze,  his  yellow-brown  rocks,  his  gleam- 
ing red  sea-mosses,  and  the  white  bodies  of  his  maidens  are  always  arranged  in 
new,  glowing,  sensuous  harmonies.  Many  of  his  pictures  have  such  an  en- 
snaring brilliancy  that  the  eye  is  never  weary  of  feasting  upon  their  floating 
splendor.  Indeed,  later  generations  will  probably  do  him  honor  as  the  greatest 
color-poet  of  the  century. 

CHRISTIAN  BRINTON  ‘THE  CRITIC’  1901 

ARNOLD  BOCKLIN  was  a posthumous  expression  of  Teutonic  roman- 
k.  ticism.  He  flashed  forth,  as  it  were,  after  the  lights  had  simmered  out, 
bringing  into  being  a new,  disturbing  beauty,  a poetry  hitherto  undivined,  and 
personal  endowments  riper  than  any  since  the  Renaissance.  Quietly,  without 
pose  or  parade,  he  accomplished  for  German  art  what  Goethe  had  already 
done  for  German  poetry  and  Wagner  for  German  music.  Through  the  me- 
dium of  a rich-set  palette  he  revealed  to  Germans  — and  to  the  world  — the 
Germanic  soul.  . . . 

While  in  essence  Bocklin’s  art  is  romantic,  it  is  free  from  the  routine  faults 
of  romanticism.  His  sense  of  form  is  Grecian  and  his  color  entirely  modern  in 
its  breadth  and  brilliancy.  The  persuasive  charm  of  his  classic  scenes  is  chiefly 
due  to  the  anti-classic  and  often  frankly  humorous,  dionysian  manner  in  which 
they  are  presented.  Although  there  is  often  sharp  contrast  between  the  theme 
and  its  treatment,  the  whole  is  conceived  with  such  intensity  and  is  so  vividly 
realized  that  effect  never  fails.  To  the  cherished  quality  of  dealing  unfettered 
with  the  past,  Bocklin  added  a definite,  detailed  interpretation  of  the  present. 

[116] 


BOCKLIN 


33 


With  few  exceptions  his  works  involve  a combination,  on  even  terms,  of  land- 
scape or  marine  with  figure,  and  in  this  province  he  is  unrivaled.  An  intimate 
accord  between  these  two  elements  is  always  preserved;  nowhere  is  there  the 
slightest  loss  of  poise.  Though  he  turned,  through  affinity,  towards  the  south — 
across  the  Alps  — the  conventional  Italianism  of  Poussin,  Claude,  or  the  early 
Corot  finds  no  echo  or  even  equivalent  in  Bocklin’s  art.  With  no  sacrifice  of 
ideality  he  gives  each  subject  a fresh,  engaging  actuality,  an  individual,  verid- 
ical setting  which  is  its  own  vindication.  By  a species  of  localization  which  is 
never  slavish  and  always  full  of  suggestion,  always  tempered  by  the  essential 
beauty  of  the  scene,  he  succeeds  in  making  romance  real  and  reality  romantic. 

The  formula  of  Bocklin’s  art  consists  of  peopling  the  sea  or  sky,  shore  or 
wood,  with  creatures  of  tradition  or  of  sheer  imagination.  Its  animus  is  a pan- 
theistische  N aturpoesie,  illustrating  the  kinship  of  man  and  nature,  a concep- 
tion both  Hellenic  and  Germanic,  which  arose  from  a blending  of  that  which 
his  spirit  caught  at  in  the  world  about  him  and  that  which  came  through  the 
gates  of  fancy  and  of  fable.  . . . 

What  awes  the  neophyte  and  remains  the  cardinal  glory  of  Bocklin’s 
canvases  is  the  depth  and  splendor  of  their  coloration.  First  and  last 
Bocklin  was  a colorist.  He  chose  by  instinct  only  the  most  alluring  hues, — 
the  pure  radiance  of  far  stars,  the  vivid  grotto-blue  of  the  sea,  the  copper- 
brown  of  a faun’s  skin,  or  the  viridescence  of  water  serpent.  No  man  studied 
nature  more  closely  or  surprised  so  many  of  her  secrets.  The  Campagna,  the 
clear  vistas  of  the  Oberland,  foam-lashed  rocks  along  the  Tuscan  coast,  here 
a dark  stretch  of  wood,  there  a splash  of  light,  all  produced  an  accumulation 
of  stimuli  which,  coupled  with  an  indelible  memory  and  remarkable  powers  of 
visualization,  made  Bocklin  one  of  the  few  really  sovereign  colorists.  While 
his  sense  of  form  was  not  so  acutely  developed  — his  drawing  of  the  nude  be- 
ing the  reverse  of  academic — it  is  impossible  not  to  feel  that  the  sum-total 
may  have  gained  rather  than  suffered  through  this  fact,  for,  as  it  is,  nothing 
seems  to  reach  beyond  or  fall  below  an  irreproachable  ensemble. 

FRITZ  LEMMERMAYER  ‘UNSERE  ZEIT’  1888 

BOCKLIN  is  preeminently  a modern  painter.  Not  that  he  records  the 
passing  events  of  the  day,  nor  expends  himself  on  the  representation  of 
trifling  genre  pictures,  nor  does  he  concern  himself  with  that  homely  style 
which  aims  at  a truthful  portrayal  of  some  household  scene — a mother  sur- 
rounded by  her  little  ones,  or  a lady  occupied  with  her  embroidery.  Nothing 
of  this  nature  is  to  be  found  in  Bocklin’s  work,  but  instead,  the  wings  of  his 
far-reaching  fancy  transport  him  to  distant  lands — to  Greece,  to  Italy — and 
there  in  rich  and  glowing  colors  he  paints  whatever  most  deeply  stirs  his  soul. 
It  is  not,  indeed,  what  he  paints  that  is  modern,  but  how  he  paints  it. 

Landscapes  gloomy  and  impassioned  like  Salvator  Rosa’s  or  Poussin’s,  or 
enchanting  in  their  exuberant  colors  like  the  scenery  of  Italy,  or  dark  and 
mysterious,  as  if  haunted  by  invisible  spirits,  or  stormy  and  tempestuous  and 
filled  with  fabulous  monsters,  with  nymphs,  with  naiads,  centaurs,  and  satyrs 
— such  are  the  subjects  Bocklin  conjures  upon  his  canvas,  not  always  care- 

[117] 


34 


MASTERS  IN  ART 


fully  nor  technically  correct,  not  wholly  free  from  defects  in  drawing,  but  in- 
variably powerful  and  imaginative,  ideal  in  color,  extraordinary  in  conception, 
rich  in  feeling,  and  unquestionably  inspired.  .... 

The  irresistible  attraction  in  Rocklin’s  works,  that  wherein  above  all  else 
the  great  charm  of  his  painting  lies,  is  his  manner  of  imparting  life  to  nature, 
of  giving  her  individuality  and  investing  her  with  a soul.  It  seems  as  if  his 
landscapes  were  not  painted  for  their  own  sakes  alone,  but  as  if  the  artist  had 
been  attracted  by  the  ruling  power  of  the  spirits  of  nature,  and  to  them  he 
gives  material  form,  or  in  some  mysterious  way  suggests  their  presence.  His 
understanding  of  nature  is  profound  and  comprehensive.  To  him  she  is  not 
only  the  beneficent  mother  rich  in  blessings,  bringing  joy  and  gladness  and 
pouring  her  gifts  upon  the  world  with  lavish  hand  from  her  never-failing  horn 
of  plenty,  but  he  sees  in  her  as  well  a demoniac  Fury  who  with  fiendish  exulta- 
tion diffuses  terror  and  suffering,  and  whose  cruel  pleasure  it  sometimes  is  to 
visit  the  world  with  misery,  death,  and  destruction.  Nature  in  her  gentle 
moods  he  paints  with  delicate  and  loving  touch;  when  she  is  sad  or  when  she 
is  violent  he  renders  her  with  impassioned  power.  . . . 

Bocklin  is  the  painter  of  the  woods,  the  painter  of  sacred  groves  and  grottos, 
of  smiling  scenes  and  of  desolate  places,  of  the  storm  and  of  the  sea.  To  the 
young  life  that  stirs  in  nature,  and  to  the  mighty  death  which  devastates  her, 
his  brush  has  given  sublime  immortality.  But  unique  and  ideal  though  he  be 
as  a landscape-painter,  it  would  be  but  an  incomplete  picture  of  the  man  to 
portray  him  in  this  light  alone,  for  as  a figure-painter  he  is  a master  no  less 
marvelous.  His  canvases  in  which  figures  alone  are  depicted  are  limited  in 
number,  but  those  that  he  has  painted  show  that  he  had  the  power  of  appealing 
to  the  most  varied  emotions.  In  his  landscapes  figures  are  almost  always  in- 
troduced— sometimes  human,  more  often  fabulous.  Their  presence  never 
seems  accidental;  they  are  organic  parts  of  the  whole  design;  never  meaning- 
less accessories,  but  symbolic  forms  emanating  naturally  and  harmoniously 
from  the  spirit  of  the  scene  — in  a word,  the  actual  embodiment,  the  allegor- 
ical expression,  of  the  scene  itself. — abridged  from  the  german 

FR  ANZ-HERMANN  MEISSNER  ‘GAZETTE  DES  BEAUX-ARTS’  1893 

ARNOLD  BOCKLIN  is  one  of  the  strongest  personalities  — one  of  the 
most  singular  and  most  remarkable — in  the  whole  history  of  art.  Al- 
though neither  in  his  method  nor  in  the  choice  of  his  subjects,  taken  for  the 
most  part  from  Greek  mythology,  does  he  belong  to  the  German  romanticists, 
he  is  nevertheless  fundamentally  a romantic  painter — romantic  in  all  the 
essential  characteristics  of  his  genius,  in  the  intensity,  the  marvelous  depth  of 
his  feeling,  in  his  power  of  individualizing,  in  his  strong  vein  of  humor,  in  his 
anti-classic,  wholly  mythological  and  dionysian  manner  of  interpreting  classic 
subjects.  His  romanticism  then  may  be  said  to  be  a combination  of  the  Teu- 
tonic and  the  Hellenic;  the  Greek  spirit  and  the  German  spirit  are  the  two 
governing  impulses  of  his  genius.  . . . 

Bocklin’s  originality  was  manifested  very  early  in  his  career  quite  as  clearly 
by  his  inventive  power  as  by  his  technique.  With  few  exceptions  it  is  only  in 
his  youthful  works  that  any  trace  can  be  found  of  outside  influences.  These 

[118] 


BOCKLIN 


35 


influences  are  chiefly  those  of  his  master  Schirmer,  of  Corot,  whose  early  works 
he  saw  and  admired  when’in  Paris,  and,  above  all,  of  Poussin,  who  throughout 
Bbcklin’s  youth  was  his  model  for  the  calm  and  simple  grandeur  of  his  lines 
and  for  his  coloring.  But  Bocklin  soon  freed  himself  from  all  these  influences 
and  struck  out  upon  his  own  path.  So  pronounced  did  his  originality  become, 
that  if  we  would  find  any  painter  with  whom  to  compare  him  we  should  have 
to  go  back  to  Giorgione.  In  more  than  one  respect,  indeed,  he  recalls  that 
great  Venetian  master:  in  the  glowing  brilliancy  and  delicate  harmony  of  his 
colors,  for  example,  and  in  his  wonderful  power  of  imparting  life  to  his  figures. 

LikeGiorgione  and  all  the  old  masters,  Bocklin  attaches  primaryimportance 
to  composition.  His  own  is  indeed  truly  magistral,  and,  so  far  as  I have  seen, 
faultless.  He  has  a perfect  understanding  of  the  necessity  of  subordinating  all 
details  to  the  main  theme.  And  he  is  as  well  a born  colorist,  a veritable  mu- 
sician in  color,  as  skilful  in  producing  an  effect  by  lovely  harmonies  as  by  the 
boldest  contrasts.  His  color  seems  to  be  the  needful  clothing  for  his  massive 
sculpturesque  figures  of  man  and  of  beast,  those  strange  forms  which  look  as 
if  they  belonged  to  some  prehistoric  world. 

To  impart  to  his  creations  the  quality  of  life,  in  whatsoever  demoniac  a 
form,  Bocklin  made  use  of  a method  of  his  own  invention.  This  consisted  in 
a peculiar  use  of  distemper  in  the  early  stages,  followed  by  an  application  of 
varnish.  He  thus  obtained  a depth,  a brilliancy,  and  a relief  such  as  are 
found  in  the  works  of  the  old  masters,  but  are  never  met  with  in  those  of 
the  painters  of  to-day. 

It  would  seem  as  if  the  effect  produced  by  the  use  of  this  method  of 
Bocklin’s  were  another  demonstration  of  his  intimately  uniting  the  romanti- 
cism of  Germany  with  the  beauty  of  the  antique.  Such  a union  was  only  pos- 
sible on  the  sole  ground  on  which  romanticism  and  antiquity  could  come  to- 
gether— on  the  ground  of  natural  myths;  and  it  was  to  these  old  myths  that 
Bocklin  invariably  turned  by  choice;  they  alone  could  satisfy  both  his  Ger- 
manic fondness  for  fantastic  legends  and  his  love  of  classic  pantheism.  His 
types  of  men,  of  demigods,  of  animals,  were,  generally  speaking,  conceived 
independently  of  all  tradition;  they  are  wholly  the  products  of  an  ideal  world, 
made  up  of  elements  the  most  fantastic,  the  most  uncouth,  and  the  most  poetic 
of  the  world  of  reality,  and  they  are  endowed  with  such  beauty,  a beauty  so 
directly  the  outcome  of  the  pure  Hellenic  inspiration,  that  even  subjects  of  the 
most  trifling  nature  at  once  attain  the  proportions  of  monumental  and  classic 
works.  . . . 

For  the  greater  part  of  his  life  Bocklin  met  with  opposition  from  his  con- 
temporaries, but  from  year  to  year,  with  ever-increasing  power,  his  strong  in- 
dividuality asserted  itself.  His  style  is  so  markedly  the  product  of  his  own 
personal  temperament  that  it  hardly  seems  as  if  he  could  have  continuators. 
And  in  truth,  it  cannot  be  said  that  he  founded  any  school  in  the  strict  sense 
of  the  word,  although  numerous  painters  have  imitated  him  more  or  less 
closely.  But  his  influence  has  extended  so  far  beyond  all  imitations  that  in 
addition  to  his  personal  originality  Bocklin  will  undoubtedly  prove  to  have 
been  one  of  the  leaders  of  modern  German  art. — abridged  from  the 


FRENCH 


[119] 


36 


MASTERS  IN  ART 


Ci )t  Workz  of  Bockltn 

DESCRIPTIONS  OF  THE  PLATES 

‘THE  HERMIT’  PLATE! 

THIS  picture  is,  perhaps,  the  most  popular  of  Bocklin’s  works.  The  story 
that  it  tells  is  simple,  the  spirit  that  it  breathes  poetic  and  full  of  tender 
charm.  In  the  light  of  early  morning  an  aged  hermit  is  playing  on  his  violin  a 
hymn  of  praise  before  the  image  of  the  Virgin,  which  stands  within  a niche 
in  the  wall  of  his  cell.  And  as  he  plays,  three  little  angels,  attracted  by  the 
melody,  have  come  down  from  heaven,  and,  all  unseen,  cluster  around  the 
hermit’s  humble  dwelling.  Two  have  perched  upon  the  broad  rim  of  a 
wooden  partition,  absorbed  in  enjoyment  of  the  music.  The  third,  a slen- 
der little  fellow  with  rainbow-colored  wings,  stands  on  tiptoe  outside,  peep- 
ing curiously  through  the  window  at  the  scene  within. 

The  color-scheme  increases  the  poetic  effect.  The  sky  is  illumined  with 
the  soft  violet  light  of  early  dawn,  which  shines  upon  the  Virgin’s  image  and 
upon  the  white  head  of  the  old  hermit  bending  over  his  violin.  The  general 
tone  of  the  picture  is  quiet,  almost  subdued,  but  a few  bright  spots  of  color — 
the  blue  of  the  Virgin’s  mantle,  the  wings  of  the  standing  angel,  and  the  green 
of  he  bit  of  turf — prevent  all  monotony. 

The  picture  is  on  wood,  and  measures  about  three  feet  high  by  two  feet 
three  inches  wide.  It  was  painted  in  Florence  in  1882,  and  three  years  later 
was  bought  by  the  National  Gallery  of  Berlin,  where  it  now  hangs. 

‘THE  ISLAND  OF  DEATH’  PLATE  II 

“TN  the  spring  of  1880,”  writes  Baron  von  Ostini,  “Bocklin  completed  that 
JL  work  which  contains  the  very  essence  of  his  art,  and  with  which  his  name 
is  so  indissolubly  linked  that  when  we  hear  him  spoken  of  we  at  once  think  of 
his  great  ‘Island  of  Death.’  No  other  painted  landscape  is  so  profoundly  im- 
pressive; no  other  is  so  original  in  its  conception,  nor  so  moving  in  its  strange 
beauty.” 

Toward  the  shores  of  a lonely  island  a boat  draws  near.  Across  its  bow  rests 
a coffin  decked  with  flowers,  beside  which  stands  the  white-robed  figure  of  the 
dead  “A  few  more  strokes  of  the  oars  and  the  goal  will  be  reached  — the 
rocky  island  with  its  dark  cypress-trees.  Within  the  steep  sides  of  the  rock  are 
many  chambers  of  the  dead.  He  who  now  approaches  will  not  be  alone,  for 
even  as  he  is  not  the  first,  so  will  he  not  be  the  last  to  be  rowed  across  the  still 
waters  to  the  island  of  death.” 

A least  six  different  versions  of  this  subject  exist,  different  not  only  in  de- 
tails of  composition,  but  in  the  scheme  of  color.  Some  are  gray  and  somber, 
while  others  are  light  in  tone.  In  the  one  here  reproduced,  belonging  to  Frau 
Schon-Renz,  Worms,  Germany,  the  rocks  are  of  varied  hues,  the  water  is  deep 
greenish-blue,  almost  black  in  the  shadows,  and  the  sky,  dark  and  ominous  at 
the  sides  of  the  picture,  is  luminous  in  the  center  with  a lurid  light  ranging 
from  pale  orange  to  flame-color. 


[120] 


BOCKLIN 


37 


‘THE  SPORT  OF  THE  WAVES’  PLATE  III 

OF  all  Bocklin’s  representations  of  the  sea,  the  one  here  reproduced  is  the 
most  celebrated.  The  marvelous  effect  of  moving  water,  the  colors  both 
above  and  beneath  its  ever-changing  surface,  the  strange  half-human  quality 
of  these  sea-creatures,  and  the  boisterous  humor  of  the  scene  all  combine  in 
making  it  one  of  the  most  marvelous  of  the  artist’s  creations. 

M.  Jules  Laforgue  has  said  of  this  picture:  “‘The  Sport  of  the  Waves’  pro- 
duces a vivid  and  realistic  sense  of  mid-ocean,  with  the  restless  waves,  blue 
and  green  in  color,  reflecting  their  swaying  shadows.  An  agile  little  mermaid, 
not  very  graceful  in  form,  whose  feet  with  their  fin-like  attachments  are  lifted 
high  in  the  air,  plunges  into  the  deep  green  water.  Astounded  by  the  sight,  a 
monstrous  centaur,  with  bloodshot  eyes,  streaming  hair,  and  huge  paunch 
shining  like  a copper  kettle,  pauses  in  his  pursuit,  his  arms  outstretched  as  he 
beats  the  water  with  his  great  hoofs.  In  the  foreground  swims  a faun-like 
creature  with  pointed  ears  and  yellow  beard.  His  breast  is  shaggy  with  that 
kind  of  soapy  moss  which  covers  stones  in  stagnant  waters,  his  seaweed  hair 
is  crowned  with  white  flowers,  and  his  flushed  and  gleaming  face  is  distorted 
with  wanton  laughter  as  he  gleefully  drags  along  a fair  young  mermaid  whose 
white  body  ends  in  a fish’s  tail  with  scales  of  gold  and  emerald  and  mother-of- 
pearl.  Her  silvery  locks  are  wreathed  with  crimson  seaweed,  her  eyes  are  of 
the  hue  that  changes  from  green  to  sapphire  blue,  and  on  her  face  is  an  expres- 
sion of  fear  and  anguish.  In  the  upper  part  of  the  picture  is  another  siren 
swimming  on  her  back,  and  in  the  center  is  seen  a head  which  looks  like  a ball 
of  copper  with  fins  at  the  nape  of  its  neck,  puffing  and  blowing  as  it  emerges 
from  the  waves.” 

Bocklin,  as  the  writer  says  further,  may  be  criticized  for  his  drawing  which 
is  not  always  faultless.  For  the  effect  of  his  pictures  he  depends  almost  as 
much  upon  his  daring  and  often  fantastic  color-schemes  as  upon  his  surprising 
and  original  conceptions.  “But  after  all,”  adds  M.  Laforgue,  “technical  skill 
is  possessed  by  many,  but  there  is  only  one  Bocklin  in  the  world,  and  it  is  to 
describe  just  such  natures  as  his  that  the  word  genius  was  invented.” 

‘The  Sport  of  the  Waves’  (Das  Spiel  der  Wellen)  was  painted  in  Florence 
in  1883.  The  canvas,  which  measures  about  six  feet  high  by  nearly  eight 
feet  wide,  is  now  in  the  New  Pinakothek,  Munich. 

‘THE  ROCKY  GORGE’  PLATE  IV 

ONCE  when  Bocklin  was  crossing  the  St.  Gotthard  Pass  at  nightfall  he 
found  himself  enveloped  in  so  dense  a fog  that  it  was  with  difficulty  the 
path  was  kept.  All  sorts  of  weird  fancies  filled  his  brain,  and  Goethe’s  well- 
known  words  from  ‘Mignon’s  Song’  came  at  once  to  his  mind: 

“ Know’  st  thou  the  mountain  where,  hidden  in  clouds. 

The  mule  seeks  the  path  which  the  vapor  enshrouds? 

Where  horrible  dragons  in  caves  rear  their  broods. 

And  rocks  are  uprooted  by  storms  and  by  floods?  ” 

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38 


MASTERS  IN  ART 


With  the  recollection  of  his  gruesome  experience  in  mind,  the  artist  painted 
this  picture  (Die  Felsenschlucht),  in  which  we  are  shown  a ravine  in  the 
Alps,  where  a party  of  travelers  with  their  well-laden  mules  are  overtaken  by 
approaching  night.  Suddenly,  to  their  horror,  a monstrous  dragon  appears, 
craning  his  long  neck  towards  them  as  he  crawls  slowly  forth  through  the  mist 
from  his  rocky  den. 

The  picture  is  strongly  and  realistically  painted,  and  offers  a striking  ex- 
ample of  the  artist’s  imaginative  powers.  It  was  executed  in  Basle  in  1870, 
and  is  now  in  the  Schack  Gallery,  Munich. 

‘THE  VILLA  BY  THE  SEA’  PLATE  V 

‘npHE  Villa  by  the  Sea,’  painted  in  Rome  in  1864,  after  Bocklin’s  visit  to 
X Naples  and  Capri,  is  one  of  the  artist’s  most  beautiful  renderings  of 
nature  in  a minor  key.  Upon  a rocky  shore  stands  an  old  Italian  villa,  its 
marble  walls  and  the  statues  which  once  adorned  its  garden  almost  hidden  by 
dark  cypress-trees  whose  tops  are  swayed  by  the  wind.  Lower  down,  upon  the 
beach,  stands  a woman  clad  from  head  to  foot  in  mourning  garments,  leaning 
against  the  rocks  as  she  gazes  sorrowfully  over  the  water  which  breaks  in 
waves  at  her  feet.  A leaden  sky  enhances  the  indescribable  sadness  which  per- 
vades the  picture  and  imparts  itself  to  the  spectator. 

“In  the  measured  beating  of  the  waves  upon  the  shore,”  writes  Henri 
Mendelsohn,  “we  seem  to  hear  the  swan-song  of  a mighty  past.  May  not  this 
mourning  woman  be  some  Iphigenia  yearning  for  the  lost  land  of  Greece  ? 
Such  a thought  was  in  the  artist’s  mind,  for  he  says  that  in  this  melancholy 
figure  he  wished  to  represent  the  last  survivor  of  a vanished  race.” 

Bocklin  painted  no  fewer  than  five  versions  of  this  subject,  no  two  of  which 
are  alike.  The  one  here  reproduced  is  the  second,  and,  together  with  the  first 
version,  is  now  in  the  Schack  Gallery,  Munich.  It  measures  about  four  feet 
high  by  five  feet  eight  inches  wide. 

‘THE  ISLAND  OF  LIFE’  PLATE  VI 

BOCKLIN  painted  this  picture,  called  in  German  ‘Das  Lebensinsel,’  in 
Zurich  in  1888,  partly  as  a variant  of  his  work  entitled  ‘The  Regions  of 
the  Blessed’  (Die  Gefilde  der  Seligen),  and  partly  as  a companion  to  his 
‘Island  of  Death.’ 

Upon  a fairy  isle  crowned  with  slender  poplars  and  tropical  palms,  happy 
mortals  are  seen  dancing  hand  in  hand  upon  the  green  turf.  A summer  sky 
smiles  above  them,  and  in  the  clear  water  beneath,  their  forms  reflected  in  its 
glassy  surface,  strange  beings  from  some  imaginary  realm  swim  gracefully 
around  the  rocky  shores,  while  swans  float  leisurely  upon  the  tranquil  sea. 
All  is  light  and  sunshine  in  this  happy  spot  which  forms  a striking  contrast  to 
the  mysterious  sadness,  the  solemn  peace,  of ‘The  Island  of  Death.’ 

The  picture  is  owned  by  Herr  Emil  Olbermann,  Cologne. 


[122] 


BOCKLIN 


39 


‘VITA  SOMNIUM  BREVE’  PLATE  VII 

“TN  this  picture/’  writes  Baron  von  Ostini,  “Bocklin  may  be  said  to  have 

A reached  the  highest  point  of  his  achievement.  After  much  thought  and 
numerous  experiments,  the  composition  as  it  now  stands  finally  took  shape, 
assuredly  one  of  the  most  original  and  significant  of  the  countless  representa- 
tions of  the  four  ages  of  man  which  either  modern  or  ancient  art  has  pro- 
duced.” 

From  a sphinx  head  in  a marble  framework  bearing  the  motto  vita  somnium 
breve  (Life  is  a brief  dream)  flows  the  stream  of  life.  Its  deep  blue  waters 
wind  through  a green  meadow  bright  with  dandelions  and  daisies,  and  on  the 
borders  of  the  stream  two  little  children  are  playing.  One  with  pale  golden 
hair  is  pressing  a handful  of  flowers  against  his  breast  as  he  casts  them  one  by 
one  upon  the  clear  water;  the  other,  a charming  little  fellow  with  reddish  curls, 
rests  his  chubby  hands  upon  the  ground  as  he  bends  forward  to  watch  a daisy 
borne  away  by  the  current  of  the  stream.  In  the  center  of  the  picture,  on  the 
right  of  the  fountain,  stands  a young  woman  clasping  flowers  in  her  upraised 
hands  as  she  gazes  dreamily  into  the  distance.  Her  gauzy  drapery  of  deep  blue 
sprinkled  with  gold  stars  contrasts  with  the  beautiful  flesh-tones  of  her  nude 
body  and  the  rich  red  of  her  hair.  Farther  back,  upon  the  left,  beneath  a group 
of  trees,  a helmeted  knight,  clad  in  red  and  with  his  lance  in  hand,  rides  forth 
upon  his  steed  into  the  unknown  world  beyond.  In  the  distance,  his  bent  form 
in  its  long  brown  robe  silhouetted  against  the  cloud-flecked  blue  sky,  is  seated 
an  old  man,  unconscious  that  behind  him,  Death,  with  club  upraised,  stands 
even  at  that  very  moment  ready  to  strike  the  fatal  blow. 

The  picture  was  painted  in  Zurich  in  1888,  and  is  now  in  the  Basle  Museum. 
It  is  on  wood,  and  measures  about  five  feet  nine  inches  high  by  three  feet  eight 
inches  wide. 

‘PAN  FRIGHTENING  A GOATHERD’  PLATE  VIII 

DURING  Bocklin’s  two  years’  sojourn  in  Weimar  (1860-62),  he  finished 
this  picture  which  had  been  begun  in  Munich.  It  is  midday,  and  among 
the  rocks  a goatherd  has  been  watching  his  flock  of  long-haired  goats,  when 
suddenly  the  silence  is  broken  by  the  sound  of  a falling  stone.  A shrill  cry 
is  heard,  and  to  the  man’s  only  half-awakened  senses  the  sound  seems  un- 
earthly, and  at  once  suggests  that  the  great  god  Pan  is  there  among  the  rocks, 
with  his  mocking  faun’s  face.  Seized  with  unreasoning  fear,  the  goatherd  runs 
as  fast  as  his  feet  can  carry  him,  nor  once  turns  to  cast  a backward  glance. 
His  arms  are  flung  over  his  head,  his  mantle  floats  behind  him  in  the  breeze, 
while  the  gourd  used  as  a flask  for  his  daily  quota  of  wine,  and  now  held  by  a 
string  in  one  of  his  upraised  hands,  swings  back  and  forth,  pendulum-wise,  in 
his  hasty  descent  of  the  hillside,  while  from  his  rocky  seat  above,  Pan  laughs 
aloud  in  malicious  glee  to  see  how  man  and  beast  fly  from  his  uncanny  pres- 
ence. It  has  been  said  that  in  this  picture  Bocklin  accomplished  that  which 
established  his  place  in  the  history  of  art:  “the  imparting  of  life  to  nature,  and 
the  rehabilitation  of  old  myths.” 


[123] 


40 


MASTERS  IN  ART 


‘Pan  erschrekt  einen  Hirten,’  to  call  the  painting  by  its  German  title,  is 
now  in  the  Schack  Gallery,  Munich.  It  measures  four  feet  four  inches  high 
by  about  three  and  a half  feet  wide. 

‘THE  SACRED  GROVE’  PLATE  IX 

BOCKLIN’S  celebrated  picture  entitled  ‘The  Sacred  Grove’  (Der  heilige 
Hain)  was  painted  in  Florence  in  1883.  In  the  depth  of  a dark  grove  of 
trees  the  columns  of  a marble  temple  are  dimly  discernible,  while  from  this 
sacred  edifice  white-robed  priests  advance  with  slow  and  stately  step  towards 
a sacrificial  fire  before  which  two  worshipers  prostrate  themselves  in  prayer. 
The  composition  is  balanced,  and  the  colors,  chiefly  black,  white,  and  green, 
form  a scheme  that  is  highly  decorative  in  its  effect.  A group  of  delicately 
painted  birch-trees  on  the  left,  their  white  trunks  reflected  in  the  pool  beneath, 
form  a marked  contrast  to  the  clusters  of  massive  dark-leaved  oaks  on  the 
right.  No  other  work  of  Bocklin’s,  with  the  exception  of  his  ‘ Island  of  Death,’ 
produces  an  impression  of  such  deep  solemnity  and  peace. 

The  canvas  is  now  in  the  Basle  Museum.  It  measures  about  three  and  a 
half  feet  high  by  nearly  five  feet  wide. 

‘NAIADS  AT  PLAY’  PLATE  X 

BOCKLIN’S  picture  of  ‘Naiads  at  Play’  was  painted  in  Zurich  in  1886, 
and  is  now  in  the  Basle  Museum.  In  describing  this  work  Henri  Men- 
delsohn writes:  “It  fairly  bubbles  over  with  fun  and  merriment.  The  scene 
represents  a rock  in  the  ocean,  over  which  the  waves  dash  in  foam,  tossing 
white  spray  high  into  the  air.  Clinging  fast  to  the  wet  rock  are  the  gleaming 
forms  of  naiads,  their  tails  shining  like  jewels  in  the  seething  waters,  and, 
as  the  waves  dash  one  on  top  of  another,  so  do  these  creatures  of  the  sea  chase 
each  other  in  their  frolic,  darting  here  and  diving  there,  and  tumbling  heels 
over  head  from  the  rock  into  the  ocean  beneath,  whose  roar  almost  drowns 
their  shrill  laughter.  All  is  life  and  movement.  The  sputtering  triton  and  the 
luckless  baby,  holding  in  his  convulsive  clasp  the  prize  he  has  captured,  a lit- 
tle fish,  rank  among  the  inimitable  creations  of  Bocklin’s  art.” 

In  speaking  of  the  somewhat  startling  effect  of  the  colors  in  this  picture,  the 
Comte  de  Montesquiou  says:  “This  is  the  most  astonishing  of  all  Bocklin’s 
representations  of  the  sea.  The  water  gleams  with  hues  as  violent  as  those 
reflected  by  the  Faraglioni,  the  red  rocks  which,  seen  from  Capri,  mirror  their 
purple  shadows  in  the  blue  waves.  One  of  the  naiads,  with  her  back  turned 
to  us,  seems  to  set  the  water  on  fire  with  the  brilliancy  of  her  orange-colored 
hair,  while  all  the  naiads’  tails,  wet  and  glistening,  glow  with  the  gorgeous 
hues  of  butterflies’  wings  or  the  petals  of  brilliant  flowers.” 

The  picture  is  on  canvas,  and  measures  nearly  five  feet  high  by  five  feet 
eight  inches  wide. 


[124] 


B O C K LI  N 


41 


A LIST  OF  THE  PRINCIPAL  PAINTINGS  BY  BOCKLIN 
IN  PUBLIC  COLLECTIONS 

FOR  more  complete  lists  of  Bocklin’s  works  than  it  is  possible  to  give  in  the  present 
limited  space,  the  reader  is  referred  to  the  publication  entitled  ‘Arnold  Bocklin.  Eine 
Auswahl  seiner  hervorragendsten  Werke,’  etc.  (Photographische  Union,  Munich,  1893- 
1901),  and  to  Henri  Mendelsohn’s  monograph  on  the  artist  (Berlin,  1901).  Many  of 
Bocklin’s  paintings,  indeed  the  greater  number,  are  in  private  possession,  principally  in 
Germany,  Switzerland,  and  Italy.  The  following  list  includes  only  those  which  are  in  col- 
lections accessible  to  the  public. 

AUSTRIA.  Vienna,  Modern  Gallery:  An  Idyl  of  the  Sea;  Portrait  of  Lenbach  — 
. GERMANY.  Berlin  National  Gallery:  The  Regions  of  the  Blessed}  The 
Hermit  (Plate  i)j  Pieta;  The  Descent  from  the  Cross}  Surf  of  the  Sea}  A Spring  Day; 
Centaur  and  Nymph;  Portrait  of  Wallenreiter;  Portrait  of  Bocklin  (Page  106);  Portrait  of 
Fr.  Dr.  Fiedler  — Bremen,  Kunsthalle:  The  Adventurer  — Breslau,  Silesian  Mu- 
seum: Lute-player;  Sanctuary  of  Hercules;  Castle  attacked  by  Pirates  — Carlsruhe,  Mu- 
seum: Poverty  and  Care — Cologne,  Museum:  Castle  attacked  by  Pirates  — Dresden, 
Royal  Gallery:  Syrinx  fleeing  from  Pan;  Family  of  Fauns;  War;  A Summer  Day; 
Springtime  — Frankfort,  Stadel  Institute:  Villa  by  the  Sea  — Hamburg,  Kunst- 
halle: Silence  of  the  Forest;  Portrait  of  Bocklin;  Portrait  of  Augusto  Fratelli  — Leipsic, 
Museum:  The  Island  of  Death;  A Spring  Song — Magdeburg,  Museum:  Family  of 
Tritons  — Munich,  New  Pinakothek:  Pan  among  the  Reeds;  Sport  of  the  Waves 
(Plate  111)  — Munich,  Schack  Gallery:  Ideal  Landscape;  The  Anchorite;  Pan  fright- 
ening a Goatherd  (Plate  vm);  The  Villa  by  the  Sea  (Plate  v);  The  Villa  by  the  Sea;  The 
Shepherd’s  Lament;  Murderer  pursued  by  Furies;  The  Rocky  Gorge  (Plate  iv);  A Shep- 
herdess and  her  Flock;  Ideal  Spring  Landscape;  The  Road  to  Emmaus;  A Sacred  Grove; 
Old  Roman  Tavern  in  Spring;  The  Ride  of  Death;  Italian  Villain  Spring;  Nereid  and  Triton 
— Stuttgart  Gallery:  Villa  by  the  Sea;  Roman  Landscape  — SWITZERLAND. 
Aarau,  Society  of  Art:  Muse  of  Anacreon  — Basle,  Museum:  [staircase] 

(frescos)  Birth  of  Gaa;  Flora  with  her  Children;  Apollo;  Medusa;  [picture  gallery] 
Naiads  at  Play  (Plate  x);  Vita  Somnium  Breve  (Plate  vn);  Portrait  of  the  Artist  in  his 
Studio;  Melancholy;  Diana  Hunting;  Viola;  Mary  Magdalene  weeping  over  the  Body  of 
Christ;  Battle  of  Centaurs;  Odysseus  and  Calypso;  Petrarch;  The  Sacred  Grove  (Plate 
ix);  The  Plague  (unfinished);  Portrait  of  Luise  Schmidt;  Portrait  of  Prof.  Jacob  Mahly; 
Head  of  a Roman;  Two  Landscapes;  Two  Mountain  Scenes  — Basle,  Society  of 
Artists:  Portrait  of  Frau  Bocklin  as  a Muse  — Berne,  Museum:  The  Silence  of  the 
Ocean — Lucerne,  Museum:  Landscape  with  Moors — Zurich,  Society  of  Artists: 
The  Awakening  of  Spring;  In  the  Arbor. 


Bocfeltn  Btbltograpijp 

A LIST  OF  THE  PRINCIPAL  BOOKS  AND  MAGAZINE  ARTICLES 
DEALING  WITH  BOCKLIN 

ARNOLD  BOCKLIN.  Eine  Auswahl  seiner  hervorragendsten  Werke  in  Photogravure 
. mit  einer  Biographie  des  Kiinstlers  von  Prof.  H.  A.  Schmid.  Munich,  1893-1901  — 
Berggruen,  O.  Auserlesene  Gemalde  der  Galerie  Schack.  Vienna,  1886  — Cook,  C.  C. 
Art  and  Artists  of  Our  Time.  New  York  [1888]  — Fendler,  A.  Fiinfzehn  Holzschnitte 
nach  Gemalde  von  Bocklin.  Leipsic  [1898]  — Floerke,  G.  Zehn  Jahre  mit  Bocklin. 
Munich,  1901  — Frey,  A.  Arnold  Bocklin,  nach  den  Erinnerungen  seiner  Zurcher 
Freunde.  Stuttgart,  1903  — Grimm,  H.  Zehn  ausgewahlte  Essays.  Berlin,  1883  — 

[125] 


42 


MASTERS  IN  ART 


Grimm,  H.  Fragmente.  Berlin,  1900 — Haack,  F.  Die  Kunst  des  xix  Jahrhunderts. 
Stuttgart,  1905  — Haendtke,  B.  Bocklin  in  seiner  historischen  und  kiinstlerischen  Ent- 
wicklung.  Hamburg,  1890  — Hansson,  O.  Seher und Deuter.  Berlin,  1894  — Lasius,  O. 
Arnold  Bocklin.  Berlin,  1 903  — Lehrs,  M.  Arnold  Bocklin,  ein  Leitfaden  zum  Verstandniss 
seiner  Kunst.  Munich,  1897  — Lichtwark,  A.  Die  Seele  und  das  Kunstwerk.  Berlin, 1900 

— Manskopf,  J.  Bocklin’ s Kunst  und  die  Religion.  Munich,  1905  — Meier-Graefe,  J. 
Entwickelungsgeschichte  der  modernen  Kunst.  Stuttgart,  1904 — Meissner,  F.  H. 
Arnold  Bocklin.  Berlin, 1898 — Mendelsohn,  H.  Bocklin.  Berlin, 1901  — Muther,  R. 
The  History  of  Modern  Painting.  London,  1895  — Ostini,  F.  von.  Arnold  Bocklin. 
Leipsic,  1904  — Pecht,  F.  Deutsche  Kiinstler  des  neunzehnten  Jahrhunderts.  Nordlingen, 
1887 — Ritter,  W.  Arnold  Bocklin.  Ghent,  1893 — Schack,  Graf  v.  Meine 
Gemaldesammlung.  Stuttgart,  1881 — Seidel,  P.  Die  Werke  Bocklins  in  der  Schack- 
galerie  zu  Miinchen.  Munich,  1902  — Tschudi,  H.  v.  Die  Werke  Bocklins  in  der  Kgl. 
Nationalgalerie  in  Berlin.  Munich,  1901. 

MAGAZINE  ARTICLES 

ARCHITECTURAL  RECORD,  1903:  H.  Lespinasse;  Bocklin  as  a Sculptor  of  the 
IjL  Grotesque  — L’Arte,  1901:  A.  Colasanti;  La  mostra  Bocklin.  1901:  W.  von 
Seidlitz;  Notizie  di  Germania  — Artist,  1901:  S.  C.  de  Soissons;  Arnold  Bocklin  — 
Art  Journal,  1888:  H.  Zimmern;  Arnold  Bocklin.  1904:  A.  MacMahon;  Arnold 
Bocklin  — Basler  Jahrbuch,  1902:  A.  von  Salis;  Erinnerungen  an  Bocklin — Con- 
temporary Review,  1905:  S.  C.  de  Soissons;  Arnold  Bocklin  — Craftsman,  1905: 
A.  von  Ende  ; Arnold  Bocklin  — Critic,  1901:  C.  Brinton;  Arnold  Bocklin  — 
Deutsche  Revue,  1895:  J.  Mahly;  Aus  Bocklin’ s Lehrjahren  — Gazette  des  Beaux- 
Arts,  1883:  J.  Laforgue;  Le  Salon  de  Berlin.  1893:  F.  H.  Meissner;  Arnold  Bocklin 

— Gegenwart,  1890:  H.  Kaatz;  Der  Realismus  Bocklins.  1890:  C.  Sterne;  Bocklin’s 
Fabelwesen  im  Lichte  der  organischen  Formenlehre  — Die  Kunst,  1900:  P.  Schumann; 
Arnold  Bocklin.  1901:  H.  von  Tschudi;  Arnold  Bocklin.  1902:  Gustav  Floerke;  Wie 
urteilte  Bocklin  iiber  moderne  Malerei?  1902:  G.  Floerke;  Zur  kiinstlerischen  Charakter- 
istik  Bocklins.  1902:  H.  von  Tschudi;  Die  Werke  Arnold  Bocklins  in  der  Kgl.  Na- 
tionalgalerie zu  Berlin.  1902:  G.  Winkler;  Graf  Schack  und  Bocklin.  1902:  H.  Wolfflin; 
Arnold  Bocklin.  1905:}.  Manskopf;  Bocklin’s  Kindergestalten.  1905:  H.  A.  Schmid; 
Meier-Graefe  contra  Bocklin  — Kunst  fur  Alle,  1886:  H.  Helferich;  Schweizer 
Reisebuch.  1887:  F.  Pecht;  Zu  Bocklin’s  sechzigstem  Geburtstag.  1894:  C.  Gurlitt; 
Arnold  Bocklin  — Kunst  unserer  Zeit,  1894:  F.  H.  Meissner;  Arnold  Bocklin.  1904: 
F.  von  Ostini;  Arnold  Bocklin  — Magazine  of  Art,  1885:  C.  Phillips;  Arnold  Bocklin 

— Nation,  1898:  K.  Francke;  Arnold  Bocklin  — Nouvelle  Revue,  1897:  R.  comte 
de  Montesquiou;  Arnold  Bocklin  — Pan, 1897:  H.  A.  Schmid;  Arnold  Bocklin.  1898: 
F.  Laban;  Der  Musaget  Bocklins.  1898:  A.  Lichtwark;  Die  Bocklin  Ausstellung 
in  Berlin  und  Hamburg.  1898:  H.  A.  Schmid;  Bocklins  Skizzen.  1898:  R.  Schick; 
Tagebuch-Aufzeichnungen  iiber  Arnold  Bocklin,  herausgegeben  von  H.  von  Tschudi  — 
Preussische  Jahrbucher,  1893:  K.  Neumann;  Arnold  Bocklin.  1898:  C.  Broicher; 
Von  den  Ausstellungen  in  Basel  und  Berlin — Revue  des  Deux-Mondes,  1897:  E.  Rod; 
Le  Jubile  d’un  artiste  Balois — Sewanee  Review,  1902:  G.  B.  Rose;  Arnold  Bocklin  — 
Studio,  1896:  H.  Singer;  On  the  Work  of  Bocklin  — Uber  Land  und  Meer,  1897: 
C.  Bocklin;  Arnold  Bocklin — Unsere  Zeit,  1888:  Fritz  Lemmermayer;  Arnold  Bocklin 

— Vom  fels  zum  Meer,  1884:  E.  Koppel;  Arnold  Bocklin  — Westermanns  Monats- 
hefte,  1884:  O.  Baisch;  Arnold  Bocklin  — Zeitschrift  fur  bildende  Kunst,  1897- 
98:  F.  Haack;  Arnold  Bocklin  zu  seinem  70  Geburtstage. 

[126] 


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